By Michelle Reichert
Chrétien de Troyes makes use of repeated references to Spain all through his romances; regardless of prior feedback that they include Mozarabic and Islamic issues and motifs, those references have by no means been commented upon. The ebook will reveal that those allusions to Spain happen at key moments within the romances, and are frequently coupled with linguistic "riddles" which function roadmaps to the way within which the romances are to be learn. those references and riddles appear to help the concept a few of their topics and motifs in Chrétien's romances are of Andalusi foundation. The ebook additionally analyzes Chrétien's suggestion of "conjointure" and exhibits it to be the intentional elaboration of a kind of Mischliteratur, which integrates Islamic and Jewish issues and motifs, in addition to mystical alchemical symbolism, into the normal spiritual and literary canons of his time. The distinction afforded via Chrétien's use of irony, and his refined integration of this matière d'Orient into the normal canon, constitutes a gently veiled feedback of the social and ethical behavior, in addition to non secular ideals, of twelfth-century Christian society, the crusading mentality, chivalric mores, or even the concept of courtly love. the first curiosity of the publication lies within the indisputable fact that will probably be the 1st to remark upon and examine Chrétien's references to Spain and the wealthy matière d'Orient in his romances, whereas suggesting channels for its transmission, via students, retailers, and non secular homes, from northern Spain to Champagne.
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Extra info for Between courtly literature and Al-Andaluz : Oriental symbolism and influences in the romances of the twelfth-century writer Chrétien de Troyes.
Morﬁn and Harriet Carker, Mr. Feeder and Cornelia Blimber,Toots and Susan Nipper, and Jack Bunsby and Mrs. Mac Stinger, for a total of ﬁve marriages in seven chapters. The unusually high rate of marriages promises continuity in the face of disintegration and disruption. Of equal importance, it ensures, through the legacy of children, multiple opportunities for communal survival and transmission. Yet at least two crucial strands remain unresolved: Dombey’s tyrannical relationship with Florence, and the status of estranged, outspoken Edith.
Dickens’s language as he writes about the train acquires just such a tone as it rises to meet the challenge of its subject. Here he is, exuberantly, in “A Flight”: Bang! We have let another Station off, and ﬂy away regardless. Everything is ﬂying. The hop-gardens turn gracefully towards me, presenting regular avenues of hops in rapid ﬂight, then whirl away. So do the pools and rushes, haystacks, sheep, clover in full bloom delicious to the sight and smell, corn-sheaves, cherry-orchards, apple-orchards, reapers, gleaners, hedges, gates, ﬁelds that taper off into little angular corners, cottages, gardens, now and then a church.
Florence becomes more than Dombey’s beloved bedside companion, who nurses him back to health from thoughts of suicide. Dickens’s number-plan indicates that Florence brings Dombey a grandchild “as if it were another Paul, acting on his better nature” (emphasis added). The closing sentence echoes a similar moment in the opening chapter, but now the focus is on the living granddaughter, not the dead mother: as Doctor Peps had “gently brushed the scattered ringlets of the child, aside from the face and mouth of the mother” as she “drifted out upon the dark and unknown sea that rolls round all the world,” now Dombey walks by the sea with his granddaughter and “smooths away the curls that shade her earnest eyes” (10–11, 833).